In new two-hander 20:40, Alastair Hill and author David Kerby-Kendall are onstage together as the same man at two different points in his life. Sneak a peek into their preparations ahead of the play’s premiere at the Omnibus Theatre next month. Time to get booking!
After years of writing success, including adaptations of David Walliams’ children’s novels, David Kerby-Kendall returns to acting to star in his new two-hander 20:40, coming to London’s Omnibus Theatre for 12 performances only next month. He told us more about his inspiration for the piece. Time to get booking!
20:40, David Kerby-Kendall’s new play looking at one man’s mental health over twenty years, gets its world premiere at London’s Omnibus Theatre, running for 12 performances only from 4 to 16 June 2019, with a press performance on 6 June. Time to get booking!
“Brilliant”, “Moving and engaging”, “Ingenius” – audiences of Tiny Room’s drama Loop have taken to Twitter to sing the praises of Peter Mulligan’s drama about a barman considering his life. We’ve rounded up some of the best tweets
Pub theatre, The Lion and Unicorn, kicks of 2019 with, appropriately enough, drama about a barman, Loop. But for this pub worker, life has become a constant, repetitive source of depression. Take a look at the trailer created by theatre company Tiny Room
Peter Mulligan wrote Loop in reaction to his own experiences of working in a bar, coping with depression and considering taking his own life. Here he tell us more about this time in his creative life and how the piece has grown since its Camden Fringe premiere.
Many of us will recognise the inside of a pub, especially during the festive season… but how does the boozer at the centre of Peter Mulligan’s Loop look and what’s going on in his bar-set drama? Find out with a look at our new production shots gallery.
Following sell-out runs in the Camden Fringe and at the Brewdog in Leicester, Tiny Room returns to London in January with an extended version of Loop. This updating of Peter Mulligan’s play, which runs t the Lion And Unicorn Theatre from 7-20 January 2019, delves into the relationships of the characters that frequent a pub.
Are we really talking about mental ill health? Or just talking about talking about it? Are we listening – actively listening – to those in need? What stops someone from committing suicide? How much do you know about Samaritans, the world’s first-ever 24-hour helpline after 999?
We know right from the start how this play is going to end, the story is the journey: What leads three teens to step over the edge?
Elizabeth Chan’s performance as Iris Chang in Into the Numbers is a convincing portrayal of mental illness but the lack of background to her story doesn’t give the gravitas this production deserves.
Actor and writer Milly Thomas is an unstoppable force refusing to shy away from tough material. Her two shows at the fringe are stylistically different from each other, but both are similarly confrontational.
Love her or hate her, Katie Mitchell is surely our most bravely iconoclastic theatre director working in Britain today. If Robert Lepage is the magician who smoothes the cracks between technology and stagecraft, Katie Mitchell is the one who adds tough edginess.
Alice Birch’s new work, Anatomy of a Suicide, courageously investigates how the suicide of a mother affects the lives of a daughter and a granddaughter, haunts their own motherhood (or causing the lack of it) and their relationships.
And what an excruciating, yet devastatingly brilliant, two hours they are. The play shows episodes from the life of the women of one family spread over three time periods: one starts in the 1970s, the next in the 1990s and the third in the 2030s.
In the programme notes for Steven Dykes’ Glockenspiel, we are told that 40% of current personnel have been deployed more than once, and 27% of those veterans deployed to Iraq and Afghanistan suffer from anxiety disorders and/depression.
Seventy years ago, J B Priestley’s thriller An Inspector Calls was first staged in the UK. Twenty-five years ago, Stephen Daldry’s acclaimed, progressive production opened at the National. His approach shook up the insular, drawing room script in order to highlight the selfish elitism of the middle and upper classes and has been regularly staged since 1992.
Trio of monologues about suicidal masculinity roars its way through the theatre and burrows deep inside your mind.
Five years ago, Tyler Clementi, a bespectacled 18-year-old freshman at Rutgers University in New Jersey jumped off the George Washington Bridge. His room-mate Dharun Ravi had set up a video camera to secretly record Clementi’s tryst with another male student and broadcast it on the internet. Thanks to New Jersey’s muddled legislation on hate crime, Ravi served only 20 days of his sentence.